
H.Q.PALEN 

ANNA W BINDERS OH 




Class__L:B tsT4J. 

Book » n 3^ 

GopyHghtN 



COPYRIGHT DEPOSIT. 



WHAT AND HOW 



A Systematized Course of Hand Work 



FOR PRIMARY GRADES 
FOR RURAL SCHOOLS 
AND FOR THE HOME 







BY 


ANNA 


\Y. 


HENDERSON 

AND 


H 


o 


PALEN 




• 





SPRINGFIELD, MASS. 

MILTON BRADLEY COMPANY 

1908 



DEC 1* 19G8 

Oopyrlfl 

CLASS Ol- XXc. No 



Copyright, L9 

11. 0. PA] 






^ 



PREFACE 

This book is intended to "bridge the gap" for the 
little child just entering school, in a way to make the 
change from the freedom of the home to the restraint 
of the schoolroom less abrupt and irksome than it 
might otherwise be, and to help the teacher arouse 
and hold his interest through things while he is learn- 
ing to use books. 

He cannot and should not "keep still," so let us 
keep him interestedly and profitably busy during this 
critical transition period. 

The book will also be found helpful to the mother 
in the home, whose manifold duties often leave her 
little time to provide something worth while for little 
hands to do. 

To the little children, their mothers and teachers 
this book is affectionately dedicated by the authors 
with the earnest hope it may accomplish that where- 
unto it is sent. 

H. 0. P. 
A. W. H. 

San Francisco, California, September 1, 1908. 



CONTENTS 



Preface .... 

The Problem and the Plan . 
Stick Laying .... 
Clay Modeling 

Sewing 

Form and Color 

Free-hand Cutting 

Weaving .... 

Folding and Construction Work 

The Utilitarian Side 

Holiday Work 

Daily Outlines for Handwork 



Page 
3 

7 

11 

27 

39 

51 

76 

99 

113 

143 

145 

155 



THE PROBLEM AND 
THE PLAN 

THE PROBLEM 

Probably no more persistent or puzzling problem 
confronts the busy teacher, whether she have one 
grade or eight, than to provide profitable occupa- 
tional work for beginners, if they are included in 
her classes. 

This work should be more than busy-work, more 
than merely hand work. It should appeal to the 
combined energy of head and hand, remembering 
that when hand work through oft repetition ceases 
to be head work, it no longer has an educative value. 

Further, it must of a necessity be work which can 
be done independently without the direct supervision 
of the teacher, and should be of such a nature as to 
require the least amount of time on the part of the 
teacher in preparation of material. 

We are happily past the day in which it is neces- 
sary to use argument in favor of manual training; 
it now only remains necessary to convince the busy 
teacher of several grades that she can introduce it 
into her already crowded school program. 

We receive into our public schools children six 
years old, fresh from home freedom and activity. 



8 What and How 

We place in their fingers pencils with which to draw 
apples or form letters before they have the finger 
control to guide the pencil or the training of the eye 
to see intelligently that which is set before them. 

We have each probably had at some time in our 
school experience a "pudding-fisted" boy, six years of 
age, perhaps, but not six years in maturity ; one who 
handles his pencil as if it were a poker, and, save for 
the friendly aid of pictures, is at a loss as to whether 
his book is right side up or upside down. It is a 
pedagogical crime to force upon this child either 
pencil or book at this time, bringing as they do, a 
period of discouragement, a loss of self-confidence, 
a giving up of striving, and, finally, a sense of being 
out of the race altogether. 

Give him instead a nice soft piece of clay. Now 
watch the transformation. How he smiles over this 
pliable mass ! How careful the touch and pat ! How 
proud of the finished object! Would he not like to 
express the thought : "Take away those meaningless 
pot-hooks ; give me something to make!" 

After a few weeks when his fingers are not quite 
so "wobbly," and the pencil is not such a long unman- 
ageable stick, the pot-hooks will not be meaningless, 
and, should he write a line backwards, he knows for 
himself that something is the matter. 

In schools of several grades, beginners receive 
fifteen or twenty minutes' attention in class after the 
opening exercises, then must wait while five, six, or 



The Problem and the Plan 9 

possibly seven classes recite before another period of 
fifteen minutes is devoted to them. What are they 
doing all this time? Concentrated study is out of 
the question at this age. 

This is the period which transforms many happy- 
faced children, who have looked forward for half 
their short lives to the wonderful time when they 
should first go to school, into sober little automatons, 
or listless little pessimists who "do not see the use 
of it," or defiant little law-breakers who play truant 
in the face of retribution sure and swift. 

Instead of "filling in" this period with haphazard 
"busy-work," which is ofttimes a mere time killer, 
the futility of which is evident to the child himself, 
why not devote this time to a systematized course of 
hand training in which there is development and 
mental growth? This is the opportunity for laying 
the foundations of manual training. 

As to the all-important question of what to do, it 
is the purpose of the following pages to show, not 
only "What to do," but "How to do it" with economy 
of both time and labor on the part of the teacher. 

THE PLAN 

It is not the purpose of this book to outline a spe- 
cific course from which no departure may be taken, 
but rather to offer suggestions along practical lines, 
which the busy teacher may adopt and adapt as the 
conditions of her school allow. 



10 What and How 

As a general plan it is suggested that five occupa- 
tions be used — one for each day of the week — from 
the opening of the fall term until January. At first 
glance this may seem too great an undertaking, but 
after due consideration it will commend itself even 
to the busiest. 

If unorganized, haphazard "busy- work" is done, 
many times five kinds of work are done if not over- 
done in the same length of time. 

By having a general scheme of work to cover a 
certain period, the work is planned for that time, and 
the teacher is relieved of the ever-present, harassing 
question of "what to do" for seat work. It must also 
be remembered that only by regular work at regular 
intervals can satisfactory results in any line of work 
be attained. 

It is not intended, nor is it desirable, to always 
repeat the same occupation on the same day of the 
week, but that each occupation shall be given once a 
week. 

While, as has already been said, it is not intended 
to lay down arbitrary work along these lines, yet, 
for the benefit of those busy teachers whose daily 
work it is not only to hear recitations of many classes, 
in their numerous subjects, but also to plan their 
work for the morrow, a daily program is added on 
pages 156 to 159, hoping that it will to some extent 
be the key which solves the seat-work problem. 



STICK LAYING 

Stick laying of simple forms is the occupation 
which may be given to the child the first day of school. 
If our little lad, wide-eyed, and with every sense 
alert for the keynote of his first year's work, finds 
upon his desk, that critical first hour of the first day 
of school, a box of sticks, he can go to work at once 
making chairs, tables, and other familiar objects, 
should more advanced classes engage the first atten- 
tion of the teacher. 

In copying forms, let long lines be represented by 
long sticks whenever possible. The use of one inch 
sticks only is a weariness to the flesh and a strain on 
the nerves. 

After the interest in this copying of simple forms 
has waned — and it is not desirable that it should last 
long — introduce a number element. Children delight 
in counting; let them place forms which require 
counting, — geometric forms or series of forms. 

In this connection a number lesson is shown on 
page 22, in which a number sequence from one to 
nine is represented by simple forms made of sticks 
of equal length. Other ideas will suggest themselves. 
For instance, say to the class : "To-day you may make 



14 What and How 

things that take just four sticks. See how many dif- 
ferent things you can make with four sticks for each 
one;" or, "Let the sticks count for us to-day. Put 
one stick in the first row, two sticks in the second, 
three in the third row, and let them count this way 
until we have nine rows." 

From these geometric and regular forms develop 
borders. Lead the class to observe borders on books, 
baskets, towels, etc., so that they get the idea of the 
repeated unit; then let them invent borders. This 
will awaken great interest and a wonderful variety 
of results will follow. 

Here we have reached inventive work, which, when 
properly directed and controlled, is one of the highest 
forms of educative work. 

In this and all other forms of imaginative or crea- 
tive work, the child must have the ideas before he can 
express them. To this end graded exercises are 
given. First, the idea of the border is developed by 
observation and by copying from the blackboard. 
Then unfinished borders are placed on the blackboard 
to be copied and finished by the class. 

Next, simply the unit may be given, from which 
a border is to be developed. Suggest a border by 
saying: "To-day make a border of squares for me," 
or, "Make a border of the letter T. You may stand 
it upright or place it upside down." 

The first two borders on page 24 may be varied by 
making units of groups of two or three. 



Stick Laying 15 

Have borders made in connection with stories. 
After reading the story of "The Little Pine Tree," 
a border of conventionalized tree forms may be made. 

By this time their heads are full of borders, they 
are making them at odd times on paper and on the 
blackboard, and when finally you say, "To-day I want 
you to 'make up' a border for me," they fall to work 
with eagerness and zeal. 

The results will be faulty, but, by emphasizing the 
good points and eliminating poor lines and construc- 
tion, good well-balanced work will surely grow out 
of it. In criticising this work the criticism should 
not be so severe as to crush originality, yet out of 
chaos a clear notion of a border must be developed. 
Let simplicity be the keynote, so that the repeated 
unit shows plainly. Keep the application of the bor- 
der before the class, by having them tell for what 
purposes their borders might be used. From stick 
work to pencil work is but a step. It will be found, 
however, that after this preliminary work with the 
sticks the pencil work is more accurate, more definite, 
and in better proportion. 

In work with sticks of various lengths, designate 
each stick by its length. For instance, say : "We will 
use the one-inch and the two-inch sticks for our bor- 
der to-day," or, "Use your five-inch sticks for your 
long lines in this picture." Thus, incidentally, a 
definite notion of the inch as a measuring unit will 
be formed. 




STICK LAYING 

10 




STICK LAYING 

17 




STICK LAYING 

18 




STICK LAYING 

19 




STICK LAYING 



[MIEYM 



A&CDIK 



0R5TU 
VWXYZ 



STICK LAYING 




STICK LAYING— BORDERS 

24 




STICK LAVING 



Reflect that the student will learn more 
by one hour of manual labor than he will 
retain by a whole day's verbal instruction. 

The things themselves are the best ex- 
plorative. — Rousseau. 



CLAY MODELING 

There is no other occupation that gives quite so 
much pleasure as clay modeling, and there is no better 
finger training. Not only does this work strengthen 
and educate the hand, but it necessitates observation 
of the smallest details, — thus it leads to seeing intelli- 
gently. 

Clay modeling is excellent for individual seat work, 
as well as for class work. After a preliminary lesson 
in which it is shown that it is with the fingers rather 
than with the palms of the hands the work must be 
done, the clay, and, whenever possible, the object, 
may be given to the pupils while the teacher has 
other classes. This is not merely "busy-work" ; it is 
more than "busy-work," for it is a form of expression 
through material things. 

The results will be crude. It is not a lesson in fine 
art, but the desired result will be attained if it has 
opened the eyes of the child to the details of the ob- 
ject before him, and if he has expressed his image of 
it by means of his hands. Notwithstanding a some- 
what prevalent opinion to the contrary, this mate- 
rial is neither troublesome, nor, as is ofttimes stated, 
"mussy," if properly cared for. If a good quality of 
clay is used, it is clean, and requires but a few min- 
utes' care after each time it is used. 



30 What and How 

THE CARE OF THE CLAY 

To prepare it for use 'for the first time, place the 
dry clay or clay flour in a cloth sack and immerse in 
water until the flour is wet thoroughly. Put the 
clay, still in the sack, away in a stone crock or covered 
tin pail over night. If, on the next day, it is too 
sticky to knead, leave it exposed to the air for a few 
hours. It should then be kneaded into large lumps, 
placed again in the sack, slightly dampened, left over 
night in the jar, when it will be ready for use. 

After the clay has been used, the models should be 
kneaded into lumps again, placed in a freshly damp- 
ened sack, put away in a covered jar, and it is ready 
for use the next day or the next week. 

If at any time the clay becomes too moist or sticky, 
exposure to the air will remedy this, while wetting 
the sack will be equally effective if it becomes too dry. 
In the right condition, clay will not stick to the fin- 
gers, which indicates that it is too soft ; or crack while 
using, which shows that it is too hard. Never wet 
the clay; moisten it by wrapping it in a damp cloth. 

It is more sanitary to keep each individual's clay 
separate. To do this, a small cup with an impro- 
vised cover, or a jelly glass with a top, can be supplied 
by each child. By the use of these a well-founded 
objection to the use of clay is overcome. Not only is 
this plan better from a sanitary point of view, but it 
will be found that the clay is more easily cared for in 
this way. 



Clay Modeling 31 

After the class has finished modeling, pass among 
them, selecting two or three of the best forms to be 
saved. Give new clay from a reserve supply, which 
should be kept on hand, to those whose work was 
taken, then let each child wrap his own clay in a 
freshly dampened cloth, and put it away in his own 
glass. Have the glasses collected and put away by 
rows or classes. 

We are getting away from the old idea that all 
the class must be doing the same thing at the same 
time. With the clay in individual glasses, in an easily 
accessible place, it will ofttimes be convenient for the 
teacher to say to some unoccupied child, "If you have 
finished your work, you may get your clay." 

A square of oilcloth may be used to protect the 
desk, and has the advantage of being noiseless and 
easily handled. 

Amount. — Five pounds of clay flour are enough for 
a class of twelve for a year. 

A FEW GENERAL DIRECTIONS 

The accompanying cuts do not outline a specific 
course. It is left to the teacher to govern her work 
by the material she has at hand, and the aptitude of 
her pupils. 

Give this work a local interest by modeling the 
fruits, vegetables, leaves, and nuts which grow in 
the vicinity; by reproducing either the reading les- 



32 What and How 

son, or some feature connected with it ; or by relating 
it to the nature study or drawing whenever possible. 

In making fruits with stems, a "pinch" of clay 
should be set aside for the stem. By rolling this small 
piece between the thumb and finger, a slender stem 
is made. A hole is then made in the fruit with the 
clay knife or pencil into which the stem is inserted, 
care being taken to work the model at the base of the 
stem in order to make it secure. 

In joining two surfaces, as the handle to the cup, 
prick lightly the parts to be joined with the clay knife 
or point of pencil, making rough surfaces, which join 
more readily. 




CLAY KNIVES 

For the cup, a cylinder is made, a small piece is 
cut out with the clay knife, then hollow it out with 
the thumbs, keeping the walls straight. 

BAS-RELIEF OR FLAT MODFLING 

Flat modeling is very simple and very fascinating 
work. Drawing in the higher grades may be varied 
and made more interesting by the introduction of 
this work. 



Clay Modeling 33 

A tile about one inch thick is made by working the 
clay bit by bit into the size and shape required. With 
this as a foundation, using additional clay, model flat 
objects in bas-relief. When modeling animal forms 
they should be built on a tile for the foundation or 
pedestal. 

Clay is an excellent medium for imaginative work. 
Suggest a country scene, recall a mental picture or a 
familiar story, and let the class work it out with clay 
on a tile. 

Clay will be found useful and effective in repre- 
senting Indian, Esquimau, early Pilgrim, and other 
race history studies. As this requires more than one 
individual's portion of clay, it is well to allow several 
to work together on such a plan. 




CLAY MODELING 

34 




CLAY MODELING 

35 




CLAY MODELING 




CLAY MODELING 

37 



EXPLANATORY NOTE 

We regret that we were unable to procure 
printing inks that would exactly express the purer 
color tones of the "Bradley Color Scheme," on 
which the color work in this book is based. We 
believe, however, that the close approximations 
obtained will not materially lessen the value of 
these exercises for the early development of the 
color-sense in children, which they are intended to 
accomplish. 

H. 0. P. 



Th child must and will us< - art. 
hand and head. The longing for ac: 
exists in his nature, and. if not developed in 

ight channel, will be developed i 
opposite direction. — Mme. Kraus-Boelte. 



SEWING 

Sewing is another occupation that is a boon to the 
busy teacher oi' several grades. 

Give a child a sewing card, a big-eyed needle and 
a bit of colored thread, and he is busily and profitably 
occupied as long as may be desirable. 

"Hut of what use — this putting the needle in one 
side and out of the other?" seme one may ask. In 
this occupation deftness and delicacy of touch and 
linger control are acquired, — "hand control leads to 
self-control." The close attention required here 
develops the power of concentration sc^ necessary in 
other lines of work. 

Sewing, it should be remembered, is a means of 
form and color study as well as hand training. Forms 
of life which can be represented by long stitches and 
not lose in effect thereby, are not only pleasing to the 
child, but are a means of teaching and observing form 
and color in nature as well. This affords also oppor- 
tunity for imparting a familiar knowledge of form 
by sewing squares, triangles, circles, and other reg- 
ular forms. 

The muscular action will at first monopolize the 
whole attention oi' the child. In his interest and anx- 
iety to put the needle in the exact hole in which it 
belongs, his tongue and facial muscles will work in 



42 Wh at and How 

sympathy, but his satisfaction in the completed card 
must not be marred by crude forms or color discords. 
Circular lines should be sewed with large worsted, 
which adapts itself kindly to curves. 

In matching colors, when sewing fruits or flowers, 
color tones should be softened, or jarring and dis- 
turbing combinations will result. It should be re- 
membered that lights and shadows are constantly 
playing on and mellowing nature's color harmonies, 
which must be taken into consideration when per- 
petuating the same in embroidery or painting. The 
point in view should not be, "Does this match exactly 
this leaf or that flower?" but, "Do these colors make 
a harmonious whole?" 

The study of borders which was introduced in the 
chapter on stick laying can be continued and devel- 
oped further in sewing. 

When forms of life are sewed, they may be col- 
ored with water-colors or crayons, so that they ap- 
pear in mass — a hard outline inclosing a white space 
means nothing to a child. 

Blunt-pointed tapestry needles, 
No. 18, with zephyr or silk-finish 
crochet cotton, are the accesso- 
ries. At first, have the needles 
threaded and threads knotted 
ready for use. Let these two 
operations be the object of a few 
minutes' lesson at some future time. 




Sewing 43 

The outline of the form is gone over twice. The 
first time each alternate stitch is taken, as in the 
accompanying diagram. The second time the "gates 
are closed," making a continuous outline. 

Sewing should always be a lesson in neatness; no 
careless work should be allowed; the wrong side of 
the card should appear as neat as the right side. 

The most desirable cards are those with simple 
forms and few lines, having large perforations made 
by removing a small disk. The strain on the eyes 
caused by the pricked cards so full of detail, formerly 
used, is thus removed. In selecting cards for begin- 
ners those having an unbroken or continuous outline 
should be chosen. 

Amount of Material. — This varies with the apti- 
tude of the class and the cards used. Eight cards of 
an average amount of detail are usually enough for 
the average child working once a week from the open- 
ing of the fall term till Christmas. 

Have patience with mistakes at first, remember- 
ing how difficult it is to handle such a small imple- 
ment as a needle and watch the pattern and keep 
your thread from tangling, — that is, if you are only 
five or six years old. 




A COLOR SEQUENCE IN SEWING — RED, ORANGE, YELLOW 

44 




A COLOR SEQUENCE IN SEWING — GREEN, BLUE, VIOLET 

45 




SEWING 



SEWING 

47 









™ !■■ n 





JEWING 







19 




ORM 

and 





Frequent complaint is modi of over- 
pressure in schools, but it is not work which 
causes over-fatigue so much as lack of in- 
terest and lack of conspicuous progress. 

The best way to diminish the strain is to 
increase interest, attractiveness, and the 
- si of achievement and growth. — Eliot 



FORM AND COLOR 



The materials for this course are colored paper, 
scissors, tablets, parquetry forms, paste, and a plen- 
tiful- supply of white practice paper for free-hand 
cutting. Water-colors or crayons may be used for 
coloring and decorating forms which have been cut 
from white paper. 

Parquetry is the name given to colored papers 
obtainable in small geometrical forms for perpetuat- 
ing design work with tablets. By the use of these in 
making borders, rosettes, and various other designs, 
the eye and hand are trained, symmetry is developed, 
and by working with the forms themselves an inti- 
mate knowledge of form is acquired. 

Color and form are so closely associated that the 
study of one naturally embraces the study of the 
other. 

The study of color is both important and practical. 
It is as necessary that the eye should be trained to 
discriminate to a nicety between color-tones, and be 
able to make pleasing combinations of color, as that 
the ear should discriminate between sounds and know 
harmony from discord in music. 



54 What and How 

While some people are born with an appreciative 
eye, or soul, for the harmonies of nature's colors with 
their iridescent lights and shades, there are many 
more who pass them by, not seeing them, and stand 
helplessly dumb before masterpieces of art. It is 
not necessary here to enter into platitudes on the 
influence of this appreciation of the beauty about us, 
for in a more or less definite way we all believe it 
has an elevating and uplifting influence. So let 
those who have themselves walked in darkness be not 
afraid of their own blindness, but with, and as one of, 
the children seek the light. 

To demonstrate the practicality of the study of 
color, not only its importance to milliners, dress- 
makers, florists, furniture dealers, house decorators, 
and many other trades needs be cited, but its influence 
in the home and in dress is so great that, consciously 
or unconsciously, it affects every individual's happi- 
ness in a greater or less degree. 

The Six Standard Colors. — The solar spectrum is 
divided into the following six colors called standards, 
— red, orange, yellow, green, blue and violet. 

The recognition of these with their names consti- 
tutes the principal part of the color work for the first 
year. The recognition of these means a correct 
mental concept of each standard, formed by handling 
and working with the purest colors obtainable, after 
which the tints and shades and hues will group them- 



Form and Color 55 

selves about these absorbed images of the standards 
in martial order. 

Color may be presented by making a projection of 
the solar spectrum in the schoolroom by means of a 
glass prism. This little "sun-fairy" is a never-ending- 
source of wonder and delight to the little ones. Let 
them pick out the colors they know and learn the 
names of those with which they are unfamiliar. 
Make a chart of the six standards for the schoolroom, 
and let each child make one for himself. 

In the scale of any one color, the tones lighter than 
the standard are called tints, those darker than the 
standard are called shades. Children should early 
learn to use these two terms, tint and shade, correctly. 
To this end the "families" of some of the colors 
should be presented. The "red family," for in- 
stance, consists of the standard red, its shade, and its 
tint. Many applications of these combinations can 
be made in rosettes, borders, tile patterns, etc. Call 
attention to the color scales in nature, how the light 
makes tints, and the shadow shades, on leaves, fruits 
and flowers. 

A tint and a shade should be added to each color 
on the color chart. A collection of bits of cloth, glass, 
buttons, tablets, colored paper, etc., may be made for 
matching and comparing with the chart. Give each 
child the six standards with a tint and a shade of each 
in parquetry forms and let him arrange a chart sim- 
ilar to the one shown on page 67. 



56 What unJ How 

A WORD ON COLOR HARMONIES 

A hue is a spectrum color, it may be red, it may 
be orange, or it may be applied to the colors which 
lie between these two in the spectrum — orange-red or 
red-orange. The term standard is used to designate 

the pure colors, rod. orange, yellow, green, blue, vio- 
let ; by hues we include not only the standards, but all 
the colors formed by the mixture of {Hire colors. The 
term is usually applied to the colors found between 
the standards in the color spectrum called "interme- 
diate hues." In the composition of the pure hues 
there is no white, black, or gray, so that though a 
scale may be formed of each hue with its tints and 
shades, and thus we have tints and shades of a hue, 
yet the term "hue" cannot be applied correctly to a 
tint or a shade. 

A scale of color is that color arranged in steps or 
degrees from a shade to the standard and from the 
standard to the corresponding tint. Each color-note 
in a scale is called a time. A scale may be made up 
of but three tones or it may be made tip of an indefi- 
nite number, according to the gradation between ad- 
jacent tones. 

Combinations of the standard colors are usually 
harsh or crude if the pure colors are used, though the 
tints or shades of one may be successfully combined 
with those of another. 



Iu> r m a // d Color 57 

A dominant harmony is a harmony made from dif- 
ferent tones of one scale. Imagine a scale of the 
standard yellow, graded from a pale tint at the top 
to a deep shade at the bottom; a picture or design 
made up of various yellows from this scale is a domi- 
nant harmony in yellow. In the study of color with 
children it is a wise plan to keep them to dominant 
harmonies or combinations of grays with spectrum 
colors, else their lack of color judgment may lead to 
riotous and warring combinations. 

Form as dealt with in this chapter treats only of 
surface forms. It is left to the teacher to develop 
the relation between these and the type solids. 

Children should early learn to recognize and name 
the following forms, — circle, square, semicircle, tri- 
angle, and rectangle. This may be done by tracing 
the form from tablets, and cutting it, and by work 
with parquetry forms. The familiar knowledge and 
use of the names of these forms may be taught by 
dictation exercises with tablets, which may after- 
ward be mounted in parquetry. 

For example: Pass to each member of the class 
one square and four semicircles of parquetry forms, 
a square of mounting paper and paste. 

Dictate as follows : Place the square in the center 
of the paper with one side (rather than one corner) 
toward the front. Before pasting, inspect the posi- 
tion of this square. If intricate patterns are to be 



58 What and How 

mounted, a vertical line and a horizontal line through 
the center of the mounting sheet is advisable. 

Place a semicircle at the left of the square, as near 
as possible without overlapping. 

Place a semicircle at the right of the square. 

Place a semicircle at the back of the square. 

Place a semicircle at the front of the square. 

Do not hesitate to show each step by means of 
larger tablets or blackboard diagram until the pupils 
are able to work from dictation alone. 

In the foregoing exercises with parquetry forms it 
is assumed that one or more previous talks had been 
given upon these two forms, still the word, "semi- 
circle," being an unfamiliar one, may not suggest 
the half circle until practical work with the form has 
been done. 

For cutting quarterfoils, four-pointed stars, four- 
petaled flowers, fold the paper in halves, then double 
it into quarters, then once again diagonally into 
eighths, then cut half of the one fourth of the design, 
for instance, half of one point of the star, which is 
an oblique line, or half of one petal of the flower. 
When opened out the unit is repeated four times 
about the center. 

An infinite number of original designs may be 
made by folding into eighths, then cutting free-hand 
designs of various shapes. 

In the following exercises the type forms presented 
are to be traced from tablets, then cut and mounted. 



Form and Color 59 

This is for form study and must not be confused with 
free-hand cutting. It will be noticed that the six 
standard colors are used in making these forms. 

The designs in parquetry should first be made with 
tablets. In placing designs for borders, symmetry 
and balance are developed by placing the middle unit 
first, then working from it to each side. 





FORM AND COLOR 
60 




FORM AND COLOR 

61 






FORM \NP COl OK 








DESIGNS FOR PARQUETRY OR TABLETS 

68 



J* 



DESIGNS FOR PARQUETRY OR TABLETS 

04 





DESIGNS FOR PARQUETRY OR TABLETS 

65 



A* 




\^X' 



DESIGN FOR PARQUETRY OR TABLETS 

GO 





















COLOR CHART SHOWING SIX STANDARDS WITH A TINT AND A SHADE OF EACH 

67 




DESIGN FOR rABLETS OR PARQUETRY 

68 




DESIGN 1 OR TABLETS OR PARQUETRY 
69 



THE RED FAMILY 

70 




THE ORANGE FAMILY 

71 



\ 




_ 



K,KI Ml \l \1)K l\\ 1'OIDING PAPER INTO EIGHTHS 



THE 



YELLOW FAMILY 




THE GREEN FAMIl \ 

73 




THE BLUE FAMILY 

74 




This "tile pattern" is made by pasting the outer rim of violet 
shade and the inner one of standard violet on a foundation square 
of the violet tint. Both designs were cut from the paper after 
being folded into eighths. 



THE VIOLET FAMILY 



FREE-HAND CUTTING 

As early as the child is able to handle the scissors 
it is his delight to cut. How many hours are spent 
before the school age in cutting aimless strips or 
"cutting out" pictures! 

With great delight the children greet their old 
friend the scissors in the schoolroom; and still greater 
is their pleasure to discover their ability to cut pic- 
tures of their own. 

In free-hand cutting no outline is made with the 
pencil. A drawing may be placed on the blackboard, 
ov some simple object placed before the class; scissors 
and common white or manila paper are given to the 
children. Show them how by cutting before them; 
i hen let them cut out the form entirely free-hand. 
The results will be crude at first, but, with patience 
on the part of the teacher and perseverance on the 
part of the pupils, in a short time they will show 
great facility in the use oi' the scissors. 

It is best to make the drawings on the blackboard 
solid white. Children do not think in outlines. 

The first form, the circle, is attractive to the chil- 
dren as a dollar, the small circles then become dimes 
and quarters. Those with "corners" are rejected as 
"bad money." It is surprising to see their avidity 



Free- II and Cutting 77 

for accumulating money at this early age under these 
circumstances. 

Under the study of form, exercises in tracing 
around the circular tablet and then cutting are given. 
This is valuable for getting the rotary motion of the 
scissors. 

From the circle to the fan, apple, or pear is but 
a step, and the road thereafter is optional with the 
teacher. 

Usually white or manila paper is used for this 
work, but for decorative purposes colored paper or 
colored crayons may be introduced. 

This is ideal seat work and is one of the best occu- 
pations for the lower grades while other recitations 
are being heard. It should always be a lesson in 
neatness and order. Scraps should be picked up 
and the wastebasket passed each time. A square of 
cloth for a scissors-mat protects the desk and also 
prevents noise. 

Various plans will suggest themselves for keeping 
the good work. The cuttings may be pasted on 
mounting cards and displayed about the room. The 
best cuttings may be selected and kept in envelopes 
by the children and pasted in individual scrapbooks 
once a week. 

Imaginative work in illustrating reading lessons, 
stories, or verses is important. Mother Goose rhymes 
are suitable for this work. 



A SUGGESTIVE OUTLINE 
FOR CUTTING 

First Month.— Round Things. 
Circle Fan 

Pear Balloon (p. 98) 

Apple Japanese Lantern (p. 154) 

S( cond Month. — Straight Line Objects. 
Boat Cup 

House Hat 

Tools (p. 81) Coffee Mill 

Third Month.— Harvest. 

Leaves Vegetables 

Fruit 

Thanksgiving Pictures — 

Wigwam 
Canoe 
Mayflower 
Pilgrim 
Fourth Month. — Christmas. 

Toys — Horns Drums Boat 

Tops Dolls Balls 

Guns Dishes, etc. 

Fireplace 
Tree 
Bells 
Santa Claus 



A Suggestive Outline for Cutting 79 

Fifth Month. — Simplified Animal Forms. 

Cat Squirrel 

Rabbit Elephant 

Pig 
Sixth Month.— 

Sunbonnet Baby 

Pose work, using children as model 

Cut from memory- 
Things seen on way to school 
Things mother uses in kitchen 
The tools a carpenter uses 
Seventh, Eighth, and Ninth Months. — 

Songs and flowers 

Continue to copy to some extent, but the most 
of the work should be original 

Illustrate songs, reading lessons, and stories : — 
Chicken Little 
Ugly Duckling, etc. 

In all this work review frequently, but do not 
attempt to keep to one model until it is perfected to 
the extent of weariness or monotony. 





FREE-HAND CUTTING 

80 











FREE-HAND CUTTING 

81 




FREE-HAND CUTTING 

82 







FREE-HAND CUTTING 

83 




\ 



J 

XT 






H 
Z 

P 

o 

s 



z 

H 
P 

u 

Q 
Z 



84 




85 




SG 




X-' 



S7 




88 




^--'ixrt^c. 



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\* >**N*»tt&£&fe» ><f ••akVd.X^ -. Vv 






STIL1 SITS 1H1 SCHOOLHOUSE B\ lit! KOUV 



FREE-HAND CUTTING MOUNTED. WITH CRAYON TOUCHES 




FREE-HAND CUTTINGS MOUNTED, WITH CRAYON TOUCHES 








vv 



FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHE! 





Ii l\ simple boat, which on account of itsB 
straight lines maybeqiven early in I 
the year. 

2- A.more difficult one for more advanced ■ 
workers Requires sharp scissors. 

3-^pplicafion of boat in simple picture 1 
usinq colored paper and crayons. H 
Sn permanent form this would not H 
appear on this paqe, but on a page with ■ 
several similar picture suggestions | 








FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 

94 




ts ^%* 8 . ^iitefc 



ick went to call on 
Mr Turkey" 
Showind that by • 



FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 



95 



"THK UGLY DUCKLING" 

FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 

96 




LET US GO AND TELL THE KING "-THE STORY OF CHICKEN LITTLE 
97 




FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 



//, instead of chaining a child to his 
books, I occupy him in a workshop, his 
hands labor to the profit of his spirit, he 
becomes a philosopher, though he thinks he 
is only a workman. Now, of all the occu- 
pations which serve to furnish subsistence 
to man, that which brings him back to 
Nature again most closely, is the work of 
h is hands. — Rousseau. 



WEAVING 

If, as is ofttimes stated, the development of the 
child is along the same lines as that of the race, then, 
indeed, is weaving a natural impulse, being one of 
the oldest industries as well as one of the first occu- 
pations of all primitive peoples. 

Weaving trains and strengthens the hand. By 
giving work to both hands it is valuable for develop- 
ing hand dexterity. It lays a foundation in design, 
thus is an excellent preparation for the loom weav- 
ing which is finding its way into higher grade work. 
In addition to these, there is a number element, for 
in every pattern the child must count. Take, for 
instance, the pattern over three and under three ; at 
first he counts laboriously, "one, two, three," each 
time, until by oft-repetition he recognizes three as a 
whole and has no need of counting. 

Weaving furnishes an occupation for desk or class 
work. The material consists of mats cut into strips 
with a margin all round, and a set of strips joined at 
each end, but without a margin. Strips detached 
from the latter are woven into the former by means 
of a long weaving needle. This occupation will need 
an introductory lesson, in which the work is dictated, 
strip by strip. For this first practice work linen or 
other mats with wide fringes are recommended. 



102 What and How 

Thin wooden slats may be used as weavers for this 
first lesson. After the idea has been mastered with 
these materials, the paper mat and long steel needle 
may be used. 

Color Harmonies. — While the child's love of bright 
colors should be gratified, at the same time an appre- 
ciation of pleasing and harmonious combinations 
should be fostered. This is an opportunity for teach- 
ing color, to which end the standards with their tints 
or shades, or with neutrals, should at first be pre- 
sented. In later work there is no reason why any 
pleasing combination should not be used. It were 
wise to make the matter a subject of careful study, 
however, remembering that it requires a trained or 
gifted eye to make these combinations, and that many 
color crimes are committed in the name of harmony. 

The first six of the designs presented form a se- 
quence as numbered. In schools in which this work 
is given as desk work without the supervision of the 
teacher, mats of the first design, over one and under 
one, should be given until pupils learn how to start 
each strip. 

If possible, dictate the first lesson in weaving, strip 
by strip. 

A mat with an even number of strips is preferable 
at first. In using these, by starting first at the right 
and then at the left, each strip is started like the one 
before. This necessitates the use of both hands, and 
is a joy to the left-handed child. If there is an odd 



Weaving 103 

number of strips, it must be started first under the 
first strip, the second time over the first strip, the 
third time under again, and repeated in this way all 
the way down, beginning on the same side each time. 

The remainder of the designs are given for ad- 
vanced work, or for those pupils who accomplish more 
than the rest of the class. For large mats repeat 
the pattern as often as the size of the mat allows. 
Small work and intricate patterns are not desirable; 
the ability used to make these had better be directed 
into some other channel. Weaving is a means to an 
end, and not the end itself. 

Much weaving may become a weariness to the flesh 
unless a new cause for satisfaction, either by its 
greater beauty or its application to forms of use, is 
born with each mat. 

Weaving mats may be put to various uses, some 
of which are shown in another part of this book. In 
addition they make bedspreads, table covers, and 
even rugs for the playhouse. They also make pretty 
and appropriate book covers for books of school work. 

Each pupil should be provided with a manila paper 
case in which his mats and needle are kept ; thus the 
distribution of materials is simplified. 

To finish mats, trim away projecting ends and 
fasten each strip in place by pasting along the mar- 
gin on the wrong side. 




WEAVING DESIGNS 
104 




WEAVING DESIGNS 

105 




WEAVING DESIGNS 

106 




WEAVING DESIGNS 

IDT 




WEAVING DESIGNS 



108 



WEAVING DESIGNS 

109 




WEAVING DESIGNS 

110 





rz 


- 


i i 



____ 


, — 




WEAVING DESIGNS 

111 



^M^= 





FOLDING 



and 




CONSTRUCTION \ 
WORK 




It is not the knowledge that is stored up 
as intellectual fat which is of value, but 
that which is turned into intellectual mus- 
cle. — Herbert Spencer. 



FOLDING AND 
CONSTRUCTION WORK 

FOLDING 

This occupation is invaluable for mental discipline, 
for accuracy, and for the training of the hand and eye. 

The mind must be intent upon the work, in order 
that each dictation may be executed with alacrity 
and accuracy. The interest in making these forms 
and the pride in the finished object is intense. 

Very early the child learns that one careless fold 
spoils the symmetry and beauty of the form. After 
the first two or three lessons the corners folded upon 
corners will not be a hair's breadth apart. 

In giving a dictation exercise, show the class by 
making the fold whenever necessary. It is as valuable 
and as practical a lesson to learn to observe closely as it 
is to follow dictation. 

It is an ironclad 
rule that the square 
must not be lifted from 
the desk, nor must it 
be turned to facilitate 
folding, except when 
so dictated, otherwise 
certain confusion will 
follow. 

In the following ex- 
ercises it is not in- 



FRONT EDGE 



116 



Wh at and How 



tended that these dictations shall be given verbatim 
to the class. They are made very simple, however, 
and will require but slight adaptation. 

The edge next the front of 
the desk is the front edge of the 
paper; the opposite edge, cor- 
responding with the back of the 
desk, is the back edge. 

1. Wall Pocket.— Fold front 
edge to back edge. Unfold. 
Fold right edge to left edge. 
Unfold. Turn the square so that 
one corner points to the front. 
Fold the right corner to the 
center. 

Fold the left corner to the center. 
Fold the front corner to the center. Use a piece 
of parquetry paper to paste the three corners at the 
center. 

2. Envelope. — Fold the wall 
pocket. Fold the fourth cor- 
ner to the center. To save a 
vast amount of useless repe- 
tition several dictations have 
been combined in the one above, 
'Told the wall pocket," but 
when working with the class 
each dictation should be given 
separately each time. 





Folding and Construction Work 



117 



3. Sailboat. — Fold the envelope, turn the form 
over, with one corner pointing to the front. It is 
now a small square, plain side up. Fold the front 
corner to the center. Turn the form over. It is the 
sailboat. 




A. Clock. — Fold the envelope. Turn the form 
over, placing it so that a corner points to the front. 
Fold the front corner to the center. Fold the right 
corner to the center. Fold the left corner to the 
center. Turn the form over. Here we have two 
corners that meet at the center like the closed doors 
of a tent. Each of these corners must be lifted and 
folded back to open the doors. A small clock face 
cut from a jeweler's catalogue and pasted on this 
form completes the clock. 

5. Picture Frame. — Fold the 
envelope. Turn the form over, 
plain side up, with one corner 
pointing to the front. Fold 
each corner to the center. In 
dictating do not give a general 
dictation, but fold one corner, 




118 What and How 

then its opposite, the third, then its opposite, thus 
developing the idea of symmetry. Turn the form over. 
Fold the front right corner at the center back so that 
it lies on the front right-hand corner of the square. 
Give this direction for each corner at the center. 

6. Cake Basket. — Fold the picture frame. Turn 
the form over. Here we have four corners which meet 





at the center. Fold the corner next the front back to 
the middle of the front edge. Repeat this fold with 
each of the remaining corners at the center. 

Turn the form over. Using a straight strip for a 
handle, insert the ends of the handle into two oppo- 
site corner pockets and paste. 

7. Saltcellar. — Place the square on the desk with 
one corner to the front. Fold the front corner to the 
back corner. Unfold. 

Fold the right corner to the left corner. Unfold. 

Fold the envelope. 

Turn the form over, plain side up, with one corner 
pointing to the front. Fold each corner to the center. 



Folding and Construction Work 



119 




Turn the form over. There are now four corners 
meeting at the center. Slip the little finger deep into 
one pocket, the third finger into the 
next, the first finger into the next, 
the thumb into the last. In doing 
this it will be found that the cor- 
ners have a tendency to bend down- 
ward. Fold them down by bring- 
ing the fingers together until the 
four corners come together at one point. Upon re- 
moving the fingers, the corners will naturally spread 
a little and the saltcellar will stand on four points. 

8. King's Crown. — Fold the diagonals. This dic- 
tation is given in folding the saltcellar. Fold the 
envelope. Turn the form 
over. Fold each corner to 
the center. Turn the form 
over, placing it on the desk, 
so that one corner points to 
the front. Again we have 
the four pockets, the corners of which meet at the 
center. Slightly raise the corner of the right-hand 
pocket ; also of the left-hand pocket. Fold the front 
corner to the back corner, at the same time keeping 
the right and left pockets 
open so they will not be in- 
cluded in this fold. Press 
these two corners down 
toward the back. 





120 



What and How 




9. Queen's Crown. — Fold diagonals. Fold the en- 
velope. Turn the form over. Fold each corner to the 

center. Turn the form 
over, one corner at the 
front. Turn the corner 
of the right-hand 
square which touches 
the center back so that 

it lies on the outside corner. This fold is the same as 

the turning back of the corners of the picture frame. 

Repeat with the corner of the left-hand pocket. 

Raise these little half 

pockets and fold the 

front corner to the back 

corner as in making the 

king's crown. 

10. Soldier's Cap. — 
Fold the diagonals. 
Fold the back edge to the front edge. Do not unfold. 
Take the back right-hand corner of this rectangle, 

bring it forward be- 
tiveen the two corners 
at the front to the mid- 
dle of the front edge. 
In the same way bring 
the back left-hand cor- 
ner forward to the mid- 
dle of the front edge. There are now two corners, one 
on top of the other at each side. Fold the upper cor- 





Folding and Construction Work 



121 



ner at the right to the vertex of the 
triangle. Fold the upper corner at the 
left to the vertex of the triangle. 

11. Christmas Tree. — Cut a green 
rectangle, made by cutting a 4x4 
square in halves, into a fringe with 
strips about one eighth of an inch 
wide. Wind these, using paste, first 
one then the other, around a five-inch 
green stick, about half way down. A 
small hemisphere of clay for a base 
will make it stand alone. 

1 2. Windmill. — Fold diagonals and 
unfold. Fold front to back. Un- 
fold. Fold right to left. Unfold. 
Fold the middle of the front edge to 
the center. Fold the middle of the 
back edge to the center. 





Fold the middle of the right 
edge to the center. This must 
leave the two corners stand- 
ing upright like two ears. 

Fold the middle of the 

left edge to the center. 

All of the corners are 

now standing ; fold them 

flat so that one points to the 

back, one to the right, one to 

the front, one to the left. 



122 What and How 

CONSTRUCTIVE WORK WITH COVER PAPER 

This series of folds is a step in advance of the kin- 
dergarten folds of the previous chapter. It is there- 
fore suitable for first-year work after the class has 
completed the other course, or may be given to sec- 
ond or third year classes without taking up the kin- 
dergarten folds. 

The materials for this course are construction 
paper, cut 7 x 7, scissors, and paste. A heavy ma- 
nila may be substituted for cover paper, though the 
latter is more attractive, as it is obtainable in colors. 

It is suggested that a playhouse made of boxes be 
furnished in connection with this course. Large 
weaving mats or raffia mats may be used for floor 
covering. This will be an object of great interest 
and pride. 

The fundamental fold in this series is the sixteen 
square, the dictation for which is given below, after 
which it will not be repeated in full. In work with 
the class the dictation should be repeated in full each 
time. 

In connection with this course of dictated work, 
children should be given frequent opportunities to 
work out their own ideas of the various models. If 
the child has preconceived notions, or if, through ob- 
servation, he receives a modified impression of some 
dictated form, by all means let him express it. The 
purpose of this course will be lacking if it does not 



Folding and Construction Work 



123 



develop power to work originally and independently. 

With this end in view, occasionally give the class 

squares of paper for "free work." In some instances 

it will be well to name the object they will make the 

next day, with the injunction to observe such objects 

and be ready for work. Variations of a form already 

made may be suggested ; if it is the cart, a seat might 

be added, or a top, or, it 

might have four wheels, 

while some inventive spirits 

will certainly devise axles. 
At other times let them 

make whatever they wish, 

being sure that they have 

some plan in mind before 

they begin work; aimless 

effort must not be allowed. 
Sixteen Square. — Fold front edge to back edge. 

Unfold. Fold right edge to left edge. Unfold. Fold 

front edge to middle line. 
Fold back edge to middle 
line. Unfold both folds. 
Fold right edge to middle 
line. Fold left edge to mid- 
dle line. Unfold both folds. 
This gives the sixteen 
square. 

1. Basket. — Fold the six- 
teen square. Cut along the 





BACK 





























■ 



124 



What and How 



heavy line ab, cutting off one strip of squares. Place 
the larger piece remaining on the desk with the nar- 
row edge to the front. We have now two creases 
going from front to back, and three from left to right. 




Cut the two creases at the front to the first transverse 
crease, or the depth of one square as indicated by 
heavy lines in the diagram. In the same way cut the 




creases at the back. Stand up the sides, fold the three 
squares at each end, one over the other, and paste, 
and an oblong box is made. Cut a handle from the 
strip that was detached, and paste on the inside of 
the middle of each side. 



on 



Folding and Construction Work 



125 



2. Wall Pocket. — Fold a sixteen square. Cut out 
the two corner squares at the back, make two cuts in 
the right edge, and two in the left as shown by the 
heavy lines in diagram A. Fold the three squares 




at each side to form an oblong box like the basket. 
This leaves a rectangle standing at the back; trim 
off the corners ; it forms the back of the wall pocket. 
3. Cart. — Fold an oblong box like the basket. 
Trace around inch tablets, and cut out the wheels. 




Either paste these on the cart, or use a toothpick for 
an axle, or fasten them on with small collar buttons. 
Cut a tongue from the detached strip. 

k. Sofa. — Fold an oblong box like the basket. 
Provide each child with an extra piece four squares 



126 



Wh at and How 



long by two squares wide, or one half of the six-inch 
square. Placing this on the desk with the long edge 
to the front, fold the left edge on to the right edge. 



B , 


V 



Keeping it folded, cut the back, right squares, as 
shown by the curved line, diagram B. It is advisable 
to have this line drawn before cutting. Using the 



1 
i / 



box inverted for the body of the sofa, paste this piece 
around it, so that it forms the back and arms. 



Folding and Construction Work 127 

5. Cupboard. — Fold the sixteen square. Cut on 
heavy lines shown in diagram C, cutting out two cor- 



c 



ner squares at the right. Fold to form an oblong 
box with cover. Give each child an extra strip three 
squares long by one square wide. These should be 
prepared by the teacher ; one six- 
teen square can be cut into five 
strips of three squares each. 
The square in the middle is a 
shelf. The end squares are sup- 
ports. The box standing on end 
is a cupboard with a door. Ap- 
ply paste to the supports and fit 
the shelf across the middle of the 
cupboard; see that the supports 
touch the bottom and the shelf is bound to be 
straight. 




m 



128 



What and How 



6. Chair. — Fold 
the sixteen square. 
Cut off a strip of 
four squares at the 
right. Cut off a strip 
of three squares at 
the back. This leaves 
a nine square; make 
two cuts at the front 
and two at the back, 
as shown in diagram 
D. 

Stand up middle square at the back for the back 
of the chair; fold down the sides and front, fitting 
three squares, one over the other, at the front and 
two at the back. If the class is proficient, let them 



D 



1 



w\ 




cut out small squares from the sides upon which the 
box stands; this makes the legs. Be sure the paste 
11 is dry before cutting. 



Folding and Construction Work 



129 



7. Tent. — Fold the sixteen square. Cut heavy 
lines, diagram E. Lines may be ruled for the diag- 





c 


d \. 






1 






i 




a 


b • / 



onals of corner squares. Fold on the middle verti- 
cal line ; fold square a so that it lies on 6, and c on d. 




After the paste is dry, make one cut in the end for 
a door. 



130 



What and How 



8. Dog House. — Fold sixteen square. Cut heavy 
lines, diagram F. Fold square a on 6, and c on d, as 



c d 

a b 



in making the tent. This makes the roof of the house. 
Fold the sides down straight, folding the corner 




squares one over the other to form the ends of the 
house. Cut a door in the side. 



Folding and Construction Work 



131 




9. Trough.— Fold 
sixteen square and cut 
as for dog house. 
Fold and paste square 
a on b, and c on d in 
the same manner. In- 
stead of turning the 
straight sides down, they 
are reversed and turned 

back, leaving the roof in- 
verted for a trough. Cut 

off the projecting corners. 
10. Trunk. — Fold six- 
teen square. Cut on heavy 

lines, diagram G. It will 

be necessary to draw the diagonals of the two corner 

squares at the back to get the projecting angles on the 

cover. Make a box, 

leaving the side with 

the projecting angles 

for the cover. Paste 

a narrow strip on the 

under side of the cover 

in the middle of the 

front edge for a strap, 

mark, and then cut a 

short horizontal slit in 

which to fasten the 

strap. 





cover 




132 



Wh at and Ho 



w 



11. Armchair. — 
Fold the sixteen square. 
Cut heavy lines, dia- 
gram H. Fold and 
paste to form a small 
square box. Have pre- 
pared pieces of paper 
two squares by three 
squares for the back 
and arms. Fold this 
so that the edge ab 
lies on the edge cd. Cut 
as in diagram I. If this seems very difficult, let the 
children mark it first, and cut after inspection. The 





H 



































corners of the back may be 
rounded. Unfold and paste 
around the box, letting the bottom 
of the box be the seat of the chair. 



Folding and Construction Work 



133 






12. Table. — Fold the sixteen square. Cut off one 
strip of four squares, leaving a rectangle four squares 
by three squares. Cut off from one end of this rec- 
tangle a strip of three T 
squares, leaving a square 
three squares by three 
squares. 

Fold the front edge to the 
next parallel crease. Fold 
the back edge to the next 
crease parallel to it. Un- 
fold both folds. Fold the 
right edge to the next crease 
parallel to it. Fold the left 

edge to the next parallel crease. Unfold both folds. 
We now have creases one-half square from the edge 

all around. Make 
two cuts at the 
front and two cuts 
at the back, each 
one-half square in 
length, as indicated 
in diagram. Fold 
and paste, making a 
shallow square box, 
one-half square in 
depth, which serves 
as the table top. From the detached strips cut four 
short strips, each one and one-half squares long and 




134 



What and Ho 



one square wide. As it is important that these be 
of the same length, place them together and make 
the ends even. These pieces, which now measure 
one by one and one-half squares, are to be used as the 

legs. Placing one of 
these short strips on 
the desk with its long 
edge to the front, fold 
as follows: Fold the 
front edge to the back 
edge. Unfold. Fold 
the front edge to the 
middle line; fold the 
back edge to the middle 
line. Do not unfold, 
but insert paste under the edges, meeting at the mid- 
dle line, making a strong table leg. Repeat this with 
the remaining rectangular strips. In pasting the legs 
in the corners be sure 
that each leg touches 
the under side of the 
top of the table. 
This insures their 
being of equal length. 
13. Washstand. 
— This requires two 
of the six-inch 
squares. Fold two 
sixteen squares. Cut 



K 



door 


door 




! i ; 


,-''?''-- 



Folding and Construction Work 



135 



one on heavy lines in dia- 
gram K, and paste to form a 
box two squares by two 
squares on the bottom and 
one square deep. Cut the 
other on heavy lines in dia- 



M 





way on the opposite 
side. A strip of four 
squares is doubled and 
cut for the board 
around the top, dia- 
gram M. 

U. Bed. -Fold 
the sixteen square. 
Fold the front edge to 
the first crease paral- 
lel to the front. Fold 
the back edge to the 



gram L. The two small- 
er squares, measuring 
two squares each way, 
are doubled to form the 
doors; paste is applied 
to one half of this square 
and it is fitted to the 
inside of one side of the 
box ; the other half forms 
the door. The other 
door is applied the same 



136 



Wh at and Ho 





first crease parallel to the 
back. Unfold both folds. 
Cut on heavy lines in dia- 
gram N. It will be noticed 
that the cuts are only half 
a square in length. Fold 
the middle rectangular piece at each end down, and 
the half squares at the corners over it, 
and paste. Have ready two pieces, 
one two squares by two squares for 
the head board, and one 
squares by one and 
one-half squares for 
the foot; paste one 
on each end, thus 
covering the space 
left by the half squares. 

A pillow can be made by wrapping and pasting a 
white paper around a pencil, then slipping it off. A 

small weaving 

mat may be 

used for a quilt. 

15. Cradle. -Fold 

the sixteen square. 

Cut off one strip of 

four squares. Fold 

each edge to the 

next parallel crease 

and unfold. These 



--. 



head -board 



Folding and Construction Work 



137 



new creases make the 
heavy lines which are 
to be cut in diagram. 
Cut the longest lines 
first. Fold and paste 
the box, which will be 
two squares long, one 
square wide 




and one- 
half square 
and rockers, 




therefore this model is placed 
near the end of the series. 

17. Go-cart. — This requires 
two of the sixteen squares. 
Fold a sixteen square. Cut 
off one strip of four squares. 
Draw lines shown in diagram 
0. By this time the class 
ought to be able to work from 
a blackboard diagram. After 
inspection, allow them to cut 
on these lines. Fold to make 



deep. The head-piece 
which should be doubled 
and cut, are pasted on afterward. 

16. Rocking-chair. — This is made 
exactly like the first chair, No. 6, with 
the addition of the rounds and rock- 
ers, which are cut separately and 
pasted. It requires a delicacy of 
touch to paste these small pieces; 

o 



138 



What and Ho 



w 



a box, which forms the body of the go-cart. Cut a 
"shaving" off the foot-board to make it the right 
height. For the top, fold the other sixteen square. 
Cut off one strip. First mark heavy lines in dia- 
gram P; after inspection, cut. 

These squares marked 1, 2, and 3 are folded one 



■ 


2 


3 / 


\ 






a 


X 


. b 




„. , 


c 


y 


d 





over the other for the top. 
The square marked x is the 
seat. The squares a and b 
are pasted to the sides of the 
go-cart, while c and d turn 
up under, meeting in the 
middle, and support the seat; 




y% is the apron which comes down in front over the 
supports. Use the detached strips for handle and 



Folding and Construction Work 



139 



wheels. The handle is a long, straight strip, five 
squares long; the wheels are traced and cut, then 
pasted ; the supports under the seat do not allow the 
use of toothpick for an axle. By making round holes 
with a punch in the buggy and corresponding ones 
in the wheels collar buttons may be used to fasten on 
the wheels. In this connection use the shortest col- 
lar button obtainable. 

The next four forms introduce work with the ruler. 




A few preliminary exercises to familiarize the class 
with the use of the ruler should be given. These forms 
are too difficult for average first-year work. 

18. Box. — The same sized square is used. Divide 
each side into thirds by placing marks at 2 and 4 on 
the ruler. Draw lines, using the ruler, connecting 
these marks as in diagram Q. Cut out the small tri- 



140 



What and Ho 



angular pieces at the sides indicated by heavy lines. 
Fold up the sides on lines; turn back the corners. 
Punch holes and tie with ribbon or zephyr. 




19. — Place a mark one and one-half inches from 
each corner on each side of 
the square. To avoid mis- 
takes, let each child find one 
and one-half inches on the 
ruler and mark it with a col- 
ored pencil. Connect marks 
as in diagram S, and cut the 
heavy lines at the corners. 
Stand up the sides and paste, 



s 












Z\ 


\ 



letting two flaps go inside 
and two outside the box at 
each end. The flaps should 
be flush with the top edge. 



^K\ 




Folding and Construction Work 



141 



20. — On each side of the square place marks at 1, 
2, 4, and 5 inches from the corner. Connect the marks 
one inch from the corners, as in diagram T, and cut 






out the corner squares as indicated by the heavy lines. 
Now draw connecting lines shown in diagram U, and 
cut the heavy lines. Stand up the sides, making each 
flap go inside. 




The starting point of thought is by sense 
impression, — the direct impression that is 
produced by the world in our internal and 
external senses. — Pestalozzi. 



THE UTILITARIAN SIDE 

While the utilitarian side is ofttimes a necessary 
one, it should by no means follow that each sewing 
card or weaving mat made is valueless unless put to 
some practical use. It is a mistaken idea, and one 
that should not be developed, — that of measuring the 
value of effort or labor only by the practicality or 
commercial value of the result. The true apprecia- 
tion of a color harmony, or a rhythmic motive, is a 
feeling harder of cultivation, but one which, when de- 
veloped, brings its own reward. 

For those times when the practical application may 
be desired, a few suggestions are here offered. 

The weaving mat or sewing card may be converted 
into a calendar, match-scratcher, or wall pocket, as 
illustrated. 

A pretty gift blotter may be made by pasting a 
sewing card or weaving mat to blotting paper of the 
same size, or either of these may be used for the cover 
to shaving papers or blank leaves for laundry lists. 

Other uses will be found under "Holiday Work." 

A FEW SUGGESTIONS 

In order to have each class on schedule time, it is 
necessary to have the distribution and collection of ma- 



144 What and How 

terials reduced to a science minimizing the time re- 
quired and avoiding confusion between classes. It is 
of course necessary to have all the materials prepared 
and ready for use. Sewing and weaving should be 
kept in individual cases, in which the needle may also 
be kept. Sticks should also be in individual boxes, 
so that counting out a certain number each time will 
not be necessary. 

Paste may be passed quickly by placing a small 
amount on a little piece of paper on each child's desk. 
This does away with collecting or washing paste 
dishes and small amounts left over may be passed 
freely to those who have not enough. 

In large classes it will be found helpful to keep the 
materials belonging to each row, or class, separate; 
they can be distributed much more quickly and read- 
ily if kept in this way. The small, wooden butter 
trays used by grocers are convenient for passing 
sticks, tablets, word-cards, etc. 



A mounting book, in which the sewing, cutting, 
weaving, and other forms of hand work can be pre- 
served is a matter of great pride. It makes a Christ- 
mas gift which is ofttimes preserved for years. 

Plain ingrain wall-paper or cover paper are suit- 
able materials for mounting books. 
* Pretty cover designs for mounting books may be 
made with parquetry forms. 



Utilitarian Side 145 

HOLIDAY WORK 

For Thanksgiving. — Sew and color leaves, turkeys, 
or pumpkins. Cut "Mayflower," pilgrim, bows, and 
arrows. 

For Washington's and Lincoln's Birthdays. — Fold 
picture frames for miniature pictures of Washington 
and Lincoln. A red and a blue frame, one for Wash- 
ington and one for Lincoln, may be tied with white 
ribbon. 

For Valentine's Day. — Cut or sew birds and hearts. 
A heart cut from gold or colored paper and pasted in 
the folded picture-frame makes a pretty valentine. A 
sheet of small embossed flowers is indispensable at 
this time. 

For Easter. — Sew or cut butterflies. Sew or cut 
a chicken peeping from a shell. 

For May-day. — Several baskets or boxes are given 
in the chapter on "Folding," which may be used as 
May-baskets. Cut and color flowers and leaves. 

For Christmas. — Until children are of school age, 
they, as a general rule, think of Christmas only as a 
time when they receive presents. As early as possible 
they should learn that the true Christmas spirit is to 
make others happy — that "it is better to give than to 
receive." 

It is well worth any trouble it may have been to 
see the shining faces as they take home their myste- 
rious, well-wrapped packages to hide — 0, the delight 
of it ! — till Christmas morning. It may be only a col- 



146 What and Ho 



w 



ored drawing, but, if it is dignified by the addition of 
a calendar pad, the child tastes the joy of giving some- 
thing made by his own hands. 



A flower or sprig of holly may be sewed and colored 
in each outward turning corner of the box on 
page 140 ; make the box of a 7 x 7 square, tie the cor- 
ners with ribbon, and we have a dainty trinket box. 

Sachet. — Fold a 7 x 7 weaving mat diagonally. 
Place cotton and sachet inside. Paste or sew with 
several threads of zephyr, making a little tuft or bow 
at each corner of the triangle. 

Bookmark. — Use a piece of cover paper or bristol 
board 2x4. Fold on 
dotted lines. Sew or 
paste a flower or but- 
terfly cut from col- 
ored paper, and tie 
with ribbon. 

A few designs are 
given for cards about 6 x 8. These may be used 
variously ; a calendar pad may be pasted on ; a 
piece of sandpaper will make it a match scratcher ; 
the addition of the wall pocket on page 125 will 
make it a match-safe as well. 
,A small writing pad, 2x4, pasted on a sewing 
card or weaving mat, with a dainty pencil attached, 
will be convenient for mother when she writes a 




Utilitarian Side 



147 



note. Blocks of pads are obtaina- 
ble at the stationer's or printer's. 

Cylindrical Box for Burnt 
Matches or Combings. — Mount an 
oblong weaving mat, 5 x 7, on heavy 
paper or bristol board of the same 
size to give it firmness. Curve or 
roll it to form a cylinder, the depth 
of which shall be the short dimen- 
sion of the mat. Punch holes along 
the two edges which meet, and tie 
or lace with raffia, worsted, or rib- 
bon. Fit to it a circular bottom, 
and fasten them together by tying 
or lacing as before. Make a handle 
of braided raffia or ribbon by which 
to suspend it. 













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HOLIDAY WORK, GUTTING AND PARQUETRY 

154 



DAILY OUTLINES FOR 
HANDWORK 

It is readily granted that the suggestions for work 
having teen given, the program itself should be left 
free and elastic. In the face of this oft-quoted state- 
ment the following outlines are submitted for those 
teachers whose numerous duties do not give them 
time to plan all their work previously to their own 
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